
Kameron Neal, still from What Year It It? (work in progress). Multichannel video installation, found footage.
Kameron Neal, Down the Barrel (of a Lens), 2023. 2-channel video and audio installation, archival NYPD surveillance films shot in 16mm. Photo by Sachyn Mital.
Kameron Neal, Down the Barrel (of a Lens), 2023. 2-channel video and audio installation, archival NYPD surveillance films shot in 16mm. Photo by Steven Pisano.
Kameron Neal & Shayok Misha Chowdhury, Mukhagni, 2020. Multimedia performance. Photo by Ben Katz. Mukhagni at The Public Theater
Kameron Neal & Paul Pinto, Whiteness: Part One, 2021. 2-channel video and 6-channel audio installation. Photo by Mattie BB.
What Year Is It?
Kameron Neal is an artist and designer working across video, installation, and performance.
Artist Bio“I can’t believe that this is 2023 and America is talking about censoring education” (Elijah, a Black high school student); “We do not need to be using the R-word, it’s just ridiculous, in 2023” (Cole & Charisma, an interabled couple); “This is the darkest shade of the brand new Essence foundation, in 2023…” (Golloria, a dark-skinned beauty influencer); “Like, I got the surgery and everything, like you’re looking like you want to run out of here and not pay the bill. It’s 2023, like we need to have these men, you know, love us right” (Maria, a Black trans sex worker); “It’s 2023 bitch, I can have armpit hair if I want!” (Ryland, a gay man in drag). Each of these statements implies a mismatch between the speaker’s expectations and their lived experience. They point to a kind of urgency, even an impatience with the pace of human progress, and also to a sense of disappointment at being stuck in the insufficient “now,” watching history repeat itself. They are calls to “catch up,” suggesting that somehow, in the present, people can be “living in the past” – that certain attitudes can mark people as historical. What Year Is It? is an anthropology of how we talk about time on the internet, as the internet itself warps our perceptions of time. Presented as a multichannel video installation, using found footage culled from the internet, What Year Is It? documents the evolution of this speech behavior between the 2016 and 2024 US presidential elections.

Kameron Neal
Brooklyn, New York
Kameron Neal is an artist and designer working across video, installation, and performance. As a Public Artist in Residence with New York City’s Department of Records, he created Down the Barrel (of a Lens), an archival film installation interrogating NYPD surveillance. Kameron was recently named a prizewinner in the National Portrait Gallery’s 2025 Outwin Boochever Portrait Competition. As a projection designer, he has worked on numerous productions including Ryan J. Haddad’s Dark Disabled Stories at The Public Theater, for which he received Lucille Lortel and Henry Hewes Design Awards. Kameron is also the recipient of a Princess Grace Award, The Vineyard Theatre’s Colman Domingo Award, and an Opera America Award for his collaborations with composer Paul Pinto. With Shayok Misha Chowdhury, he co-created MukhAgni , an irreverent multimedia performance memoir about death that was presented at Under the Radar. Artist residencies include MacDowell, Yaddo, CultureHub, ALL ARTS, MAXmachina, Ars Nova’s Makers Lab, and The Public Theater’s Devised Theater Working Group. Kameron’s work has been seen in The New York Times, Forbes, HYPEBEAST and presented at a variety of institutions including Lincoln Center, Brooklyn Academy of Music, Museum of the City of New York, Ann Arbor Film Festival, Williams College Museum of Art, and Sound Scene at the Smithsonian’s Hirshhorn Museum. Kameron is a 2024-25 Movement Lab Fellow at the Rhode Island School of Design in their Film/Animation/Video Department.